1:42-2:00. Those "dense minor harmonies" as Doug calls them have always transfixed me. Anyone want to venture an analysis? Bonus points for getting the voicings correct and not just deciphering each harmony's type.

Peter Jackson comments on a movie version of The Hobbit. The short story: he doesn't expect the lawyers to work out a deal that'll let the movie be made in less than 4 years. Sounds like lawyers. :roll:

Is the opening of this video the music that Shore wrote for the Chinese phone game???? The description for this video claims it is!
Thanks to @KK for finding this.
What does everyone think? Is it Shore?

It is half a year away, Howard Shore's fifth entry in the world of Middle Earth. I figured this news finally warrants to start a discussion about the upcoming score. From Conrad Pope's Facebook page: Also, a man named Clifford J. Tasner is probably also on board:

I noticed that there was not a guide on what cues contained film edits/tracking so I decided to make one: "A Conspiracy Unmasked" or Analyzing the Fellowship of the Ring CR
The year 2013 of the Second Age. Here follows the account of Faleel, Manic Treasure Hunter of JWFan, and the finding of the unreleased music.... Disc One Prologue: One Ring To Rule Them All
The CR has the film version, The OST and Rarities have different edits of the same alternate, The TE and EE DVD menus have the TE version
There is a section of the cue microedited around 2:00, (the microedited section can be found in the scene selection menu) and sections of the cue that have the choir mixed out. https://drive.google.com/file/d/0BxQSwI5aPja9Ym9BcjZlME1Tc1k/edit?usp=sharing The Shire
This is the cue for the EE scene, it seems to be complete and free of film edits, but I could be wrong. Bag End
This is the EE version of the scene of Frodo under the tree, the theatrical version is unreleased, though some of it can be ripped from the EE trailer on the TE special features.
The CR has the music for the EE cut of the trip through Hobbiton, the OST has an alternate of the TE version, the EE Fan Club Credits has the film version edited down, the scale documentary has one of the microedited sections Very Old Friends
Seems to be complete, with no film edits or microedits. Flaming Red Hair
The CR version seems to be an alternate, the EE scene selections (and the ROTK EE appendices documentaries) seem to have an alternate opening.. Farewell Dear Bilbo
Complete and unedited? Keep It Secret, Keep It Safe!
The first half is complete until 4:00, though the EE special features have a clean ending without Holm's voiceover.
The second half however, has a statement of the History of the Ring, tracked from Parth Galen, the original composition can be heard in the music featurette on the EE DVD and in the OST track "The Shadow of the Past"
The choir for the Nine leaving Minas Morgul is mixed low in the CR. there is a loop around 6:23, and a microedit at 7:04 A Conspiracy Unmasked
This track is what inspired me to write this.
The first portion is complete (minus 1 second of a clean opening.), however a small section at 0:48 was tracked over/replaced with brass notes from later in the cue, the original section can be heard in the Middle-Earth atlas on the EE features (during the transition to Rivendell) and the TE DVD menus.
One of the most interesting editing decisions on the FOTR CR is during Frodo and Gandalf's discussion of the One Ring, low brass play the Threat of Mordor, which is not on the CR, I believe the reason for this is because it would not flow naturally in to the History of the Ring theme, because this History theme statement is also tracked from Parth Galen!
The original piece would have featured the Footsteps of Doom End-cap, and a bit of incidental music that reminds of the Original version of the Siege of Gondor (presented on the Rarities disc), this original composition can be heard in the EE documentary on the Costumes, during the Saruman section.
A statement of the Threat of Mordor is not presented on the CR, the Third Age game has this statement. Three Is Company
The CR has the film version, The OST has the TE version.
The LOTR symphony version has singing instead of humming.
The Passing of the Elves This cue is by Plan 9 and seems to be complete Saruman The White
1:00 has low male choir in the film, but the CR has this mixed low.
Choir is dialed out at 3:09 (the intended choir can be found in the OST track "The Treason of Isengard"). A Shortcut To Mushrooms
A portion at 1:44 is microedited down, the OST has the unmicroedited section.
A bar is microedited out at 1:59, the TTT Video Game file 02G2GAL1 has this missing bar.
The Live to Projection version of this track has an extra horn line
There is an unreleased alternate to this cue, which was a shorter, more subdued take, parts of it can be found in the Previz of Gandalf riding to Isengard. and in the Middle-earth atlas (as a transition to The Trollshaws), the missing bar mentioned above could theoretically be part of this early version. Early Version (Partial): https://drive.google.com/file/d/0BxQSwI5aPja9eWRFdHJGWHU4VWc/edit?usp=sharing Strider
0:19-0:34 is tracked from later in the cue, this section was originally silent.
The string sustain as the Hobbits try to decide what to do next is artificially extended. The Nazgul https://drive.google.com/file/d/0BxQSwI5aPja9R1A2UGZWTzhHMU0/edit?usp=sharing
Music for the Ringwraiths trashing the Hobbit's beds is dialed out, this music can be found at 2:15 on the OST track 'At The Sign of the Prancing Pony'
.
1:44 to 2:14 is tracked from Saruman The White, the actual composition can be found on the Rarities track 'To Rivendell'
The CR ending (replacing the Isengard material heard in the aforementioned Rarities track) at 5:09 seems to be tracked from The Sword that was Broken as recorded for the TE
End of Disc One Disc Two Weathertop
The CR track has muted brass counterpoint mixed out, and choir is removed at 1:22. The Caverns of Isengard
0:44 has music tracked from earlier in the track, the choir is mixed low at 1:57 on the CR (the OST can be used for this portion)
The music at 3:57 is the EE version, could be looped to fit the new EE footage, the waveforms do not provide any clues. The TE version is unreleased,
The Live to Projection version of this track has various changes, including the original mix of the Nature theme statement Give Up The Halfling
Complete, the OST and Rarities have alternates.
The Live to Projection version of this track has various changes Orthanc
Seems complete.. Rivendell
Complete, OST contains an alternate. The Sword That Was Broken
The ending on the CR is either edited down and pitch shifted, or a new recording done for the EE, the full original ending can be recreated from the TE DVD Special Features menu music and the end of The Nazgul from the CR
The Live to Projection version has various changes The Council of Elrond Assembles
Aniron is microedited, a small section could be looped..
The EE DVD Appendices Menus and documentaries have music dialed out in the TE and replaced in the EE The Great Eye
1:29 sounds like it might be tracked from the original A Shortcut to Mushrooms and slowed down.
4:32 might be a loop, The OST has an alternate for 4:39. Gilraen's Memorial
The CR has the EE version, The OST has the TE version edited down, the Fellowship leaving Rivendell has the choir mixed low.
The Live to Projection version has additional bell tree The Pass of Caradhras
4:53 to 4:57 is a loop made to fit the EE footage.
The TTT game files have a brassier version of the Evil Times statement
The Live to Projection version of this track has extra or louder choir The Doors of Durin
Complete, contains the EE insert, the TE version is partially available via the TTT Video Game, the rest is in the EE documentaries. Moria
CR includes the EE inserts, the OST has the theatrical version.
The end is microedited.
The symphony version has extra instruments, extra singing, and a brassier ending. Gollum
Complete? Balin's Tomb
There are three microedits around 4:43, 4:47, and 5:10, these can be undone using the TTT or ROTK Video Game files.
The Fan Club Credits have a clean opening for 7:34 of the track.
The music after the Fellowship theme statement is the film edit, the OST track the full composition.
The Live to Projection version of this track has various changes End of Disc Two Disc Three
Khazad-Dum
There are three microedits in the track:
One at 2:01
The second at 3:33
The third at 4:07
These can be undone using the OST, and the TTT Game Files. Caras Galadhon
CR has the EE version, OST has an edited down version of the TE version The Mirror of Galadriel
The first phrase of the Lothlorien theme was edited out in order to condense the music to start at a later point in the footage, the microedited section can be found in the Scene Selection menus
It is unclear if the music for Galadriel's reveal of Nenya was a edit, or a new recording. (this section is shorter on the OST though...) https://drive.google.com/file/d/0BxQSwI5aPja9VU9yekstRUNxYzg/edit?usp=sharing The Fighting Uruk-Hai
The opening of the cue was edited out, and can be found on the Rarities.
A brass statement of the Fellowship theme was dialed out and can be found on the OST
The Symphony version of the Fellowship leaving Lorien uses the Choir over the Fellowship theme from the OST version, and an extra few seconds of choir later
The Symphony version has a few extra seconds of music after the Ring Theme statement.
The CR has the EE film version, The Rarities and OST have the TE original version Parth Galen
Choir has been mixed out at 3:25.
A second statement of the Seduction of the Ring was mixed out at 4:39.
The music for Boromir's death is the EE version, the TE version can be found on the OST and in the TTT game files. https://drive.google.com/file/d/0BxQSwI5aPja9LUZmVmNqa1prTWM/edit?usp=sharing
The Live to Projection version of this track has various changes The Departure of Boromir
The first few seconds of the track are edited out, the missing section can be found on the OST.
The music for Aragorn's fight with Lurtz is the film edit, the Game files has the full composition (with some sections looped for Game purposes)
The Live to Projection version of this track has extra choir The Road Goes Ever On.. Part 1
Complete. The Fan Club credits has an alternate, the OST has a slightly edited down version of the film version composition, but without the final humming coda. May It Be
Might be complete, might be microedited, I have no idea, on the OST, May It Be comes after In Dreams. The Road Goes Ever On.. Part 2
The CR has the film edit, the OST has the full composition Comparing the Lord of the Rings Symphony CD to the OST/CR DISC I MOVEMENT I
The Prophecy/Prologue: One Ring to Rule Them All (Original Version)
Pretty much the same content as the OST track, however 1:02 of the LOTR Symphony combines the Cor Anglais from 3:58 of the version of the Prologue on the Rarities disc and the horn from 0:58 of The Prophecy on the OST.
The rest of the prologue portion of the movement uses the CR/film version. Concerning Hobbits/The Shire and Bag End
The Symphony uses a slightly shortened version of the OST track. The Treason of Isengard/Three Is Company
The Seduction of the Ring is sung instead of hummed.
The Journey There section is omitted, instead the music segues to.... The Black Rider/A Shortcut to Mushrooms
The brass at 0:40 of the OST track is not in the Symphony version.
There is music not in the OST track at 9:03 of the Symphony version.
At 10:22 there is an additional descending horn line, however it is mixed very low, it can be heard more easily in these videos:
At 9:52:
At 1:47
Instead of resolving with the last note, the music instead segues into.... The Treason of Isengard/Saruman The White
The Symphony uses the OST version. END OF DISC I MOVEMENT I DISC I MOVEMENT II Many Meetings/Rivendell
The Symphony uses the OST Version with an extra or more prominent humming, and segues to... The Ring Goes South/Gilraen's Memorial
The Symphony uses the EE Version, and segues to... A Journey In The Dark/Moria
More prominent (extra?) Khuzdul singing, and harsh instrumentation, the Live to Projection version is similar, but less harsh. The Bridge of Khazad-Dum/Balin's Tomb
The Symphony uses the OST track, with 5 seconds of percussion hits (similar to the clean opening of the film cue The Second Hall). Lothlorien/Caras Galadhon
Seems to be TE and EE version hybrid, contains clean ending of "Lament for Gandalf" The Great River/The Fighting Uruk-Hai
EE/OST Version Hybrid, contains extra music at 21:54. Amon Hen/Parth Galen
EE Version The Breaking of the Fellowship/May It Be and The Road Goes Ever On Parts 1 and 2
OST version END OF DISC I MOVEMENT II Unsolved Mysteries What does the original version of A Shortcut to Mushrooms sound like?
Is the bit of the Threat of Mordor for Gimli trying to destroy the One Ring in The Great Eye tracked?
How much choral material are we missing? The End?

Well we know for sure that it's being recorded in New Zealand again. On August 9th, Conrad Pope checked in on Facebook "Waiting to board. Next stop breezy, lovely Wellington" (link). On August 13th, he checked in at the Museum Art Hotel in Wellington, NZ, saying "Working and working and .....working" (link). And earlier today, JoAnne Kane Music Service posted "Air New Zealand to Auckland. Middle earth here we come!" (link). I haven't found anything on Doug's twitter feed about him being in either NZ or NY, though. ANYWAY, I hope everyone is excited for this score as much as I am! It will be the culmination of not only The Hobbit's story, but the entire LOTR/TH series as a whole. I expect we'll hear definitive versions of themes such as Smaug, Erebor, Thorin, House Of Durin, The Arkenstone, Tauriel, Tauriel/Kili, Girion and Lake-town. There will probably be a bunch of new themes, though I except less new themes than either of the prior scores introduced, and less than ROTJ introduced. The only major new character not yet introduced is Dain Ironfoot, and it's possible his thematic material was already introduced in AUJ (heard in the tracks "An Unexpected Party" [3:43] and "The Dwarf Lords". Beyond that, there could be a theme for The White Council (when Gandalf, Saruman, Galadriel, Elrond, and Radagast fight Sauron in Dol Guldur). There could be a new theme, or new variation on existing Sauron material for Azog and Bolg's orc and warg army. There could be a new theme for the eagles, maybe one for the Lake-town men in battle. There could be some kind of overacting theme for the Battle of Five Armies itself too. I think it's very likely we'll finally get to hear the full Beorn theme that was only hinted at in DOS too (the recent published sheet music show how it continues from what's used in the score to a cool ending reminiscent of Nature's Reclamation) I think the big question is which of the great themes introduced in AUJ that were completely dropped in DOS will return in BOFA? One of the coolest and most radically different from the sound of LOTR themes in AUJ was Radagast's Theme, which was completely absent from DOS despite his character returning. Will we hear it in BOFA? Bilbo had 3 major themes in AUJ - his Main Theme aka Baggins/Took Theme, his Adventure Theme, and his Fussy theme. Only the latter two returned, and only in small cameos. Will he hear the definite conclusion of his main theme? Shore wrote a great theme for Thorin's Company for the first film that was mostly replaced by Misty Mountains. Will either return in Part 3? What else can we expect from BOFA? What scenes from the book are people most looking forward to hearing the score for?

The original soundtrack for Howard Shore's score to The Hobbit: An Unexpected Journey will be released on Monday December 10th by Decca (Internationally) / Tuesday December 11th by WaterTower Records (USA). The STANDARD VERSION of The Hobbit OST (http://www.amctheatr...xpected-journey Nov 7: A sample of Old Friends (Extended Version) (5:01) began streaming on The Hobbit's Official website Nov 7: Samples of every track from the regular and Special Edition OST appeared on qobuz.com Standard OST: http://thefilmfatale...y-the-hobbit-an Nov 11: Amazon has begun streaming 30 second samples of every track http://www.rollingst...emiere-20121112 Nov 13: Empire Online is streaming the entire OST (Standard Version) http://www.empireonline.com/news/story.asp?NID=35757

Hello!
Its me Jerry back with some reviews! Over the next week or so I will be posting my review for each one of the Hobbit trilogy scores. Feel free to share your thoughts and reactions, and let me know what you think as we go. Now, I have not seen the movies too often, so don't expect many references. This will be more of a score exploration individually rather than connecting it with the movie as I have done with my other reviews. I may also have some questions so it would be nice to have some replies. First few tracks of An Unexpected Journey are on their way!!!

Hooray for Miranda Otto beerchug
ADMIN NOTE:
Click HERE to jump to the reveal of the cover art Click HERE to jump to the reveal of the track list
Click HERE to jump to the reveal of the track TIMES
And click HERE to jump to when the first JWFanner received his set and actual discussion of the release begins!

Just a quick note: anyone who think the trilogy is now "complete" should check out Doug Adams' blog. Based on Doug's reports, we may surmise that when the book is out and the dust has cleared, people will be shocked at the amount of revelatory music they've never heard. Some choice quotes:
Some pieces give you a glimpse into the creative process… both compositionally and editorially… you really get a better sense of how these films were put together. Some of the alternate compositions simply stand as superb pieces of music… an LOTR 3.5, if you will. Some reveal how Shore composes. Some reveal how he conducts and records… but everything shows something. It’s not just a grab bag of slightly out-of tune alternate takes or anything of that sort.
...
The day's biggest jaw-dropper of a revelation came courtesy of ROTK. In fact, I'm tempted to say that this particular find may well end up as everyone's favorite in the long run. It's a big one--a very big one. I'm trying not to think of it too much, if only in the selfish hope that I'll find something even more shocking tomorrow, so if I seem to be downplaying it, that's why.
...
It’s a crucial scene, and a very lengthy piece of music that’s not yet been heard in its entirety. We had hints that it existed, but not to this extent.
Admin note:
Click HERE for the Press release / official announcement of the book
Click HERE for the reveal of the Rarities Archive track list
Click HERE for where actual discussion of the music begins

I know there has been some backlash against the large amount of polls created recently, but this is a poll that had to be made.
Which film and score is your favorite from the epic The Lord of The Rings trilogy?

As the title implies, I've been wondering for a while what instrument is used in "Minas Morgul" on the LOTR:ROTK soundtrack ("A Coronal of Silver and Gold" on the LOTR:ROTK complete recordings) to create the distinct pitch and sound of Sauron's theme in the track. The instrument produces a screaming, almost satanic sound that I haven't heard anywhere else in the music of LOTR. I've searched the internet looking for what instrument could've been used, but my search was to no avail. So yeah, it'd be great if someone could help me out on this certain topic. Thanks!

Yo - Found another report saved on an old external HD. It's a report on the FotR rec sessions (fall of 2001) by LPO cellist Catherine Wilmers. Enjoy!
Recording The Fellowship of the Ring
Cellist, Catherine Wilmers, gives her account of the LPO sessions in September 2001 that brought to life Howard Shore’s score for this new film.
3 September 2001
A huge orchestra assembles in the gigantic Watford Colosseum (formerly known as the Town Hall). There is an expectant and excited atmosphere as Canadian-born composer, Howard Shore, arrives on the podium. He starts off by describing the film and his involvement with it. Present a year ago during the filming in New Zealand, Shore is steeped in Tolkien. Director, Peter Jackson, a bare-footed New Zealander, is also on hand to meet us. Howard explains about the languages used in the film: elvish (two versions) and dwarfish; and how the Tolkien songs and poems are included. Roisin, the Tolkien language expert, has helped to coach the choir, especially in 'black speech', and organised phonetic translations to help the singers. Meanwhile the red light flashes in the hall, perhaps a gentle reminder that it is now 2.30 pm and that we should consider playing some music.
Howard asks how many of us have read the book. Many hands go up and a few days later new copies are seen lying around on the floor to be devoured by musicians during the breaks. This is Howard's first visit to Watford. The sound is immediate, vibrant and very warm. Perhaps my impressions are coloured by sitting in front of the marvellous horn section which has to play some very dramatic music.
Every player has a pile of folders, beautifully organised with the music of each section in a different colour. The music is very clear, printed in large notes direct from a computer. Gone are the days of trying to unscramble incomprehensible manuscripts! Howard has a screen in front of him and as soon as we rehearse a section he is able to judge whether the music sounds correct and whether it fits exactly. Often we are asked to make a 4-beat bar into a 3-beat bar and later a 4-beat bar into a 5-beat bar to compensate. Impressively he is also able to make immediate decisions about whether the instruments sound right or whether we have to make adjustments such as cutting out a few cello or violin bars.
We get ready. The number of the 'take' is announced, and we are off. We soon discover it is vital to take notice of the metronome marks on the parts as there are often sudden mood swings with associated tempo changes. When the 'black riders' appear, the music is suddenly faster, rhythmic and frightening. Susanna Riddell (my cello desk mate) and I soon discover that we can go up to the control room in the breaks to watch the film and listen to the music. Coffee breaks are forgotten as we get immersed in the film. Computer imaging technology has been used to 'shrink' the six-foot actors playing hobbits and dwarfs.
7 September 2001
This is day four and we work from 9 am to 4 pm as Watford is being used for a disco in the evening! The music stands, instruments, microphones and wires all have to be removed for the evening and then put out again the next afternoon at 2 pm.
8 September 2001
We manage to start on time. In the control room there is an amazing array of switches. We go up there to listen to the playback and hear a noble cello passage to accompany Gandalf. It is nice to be chosen to represent the good! Then we move on to deeply scary music.
10 September 2001
We are at Watford from 11 am to 6 pm, before dashing to check in at Stansted Airport one and a half hours later. It does not help that another car smashes into me on the journey and I have to report it to Hertford Police Station. We are off to Bucharest for two nights with concerts as part of the Enescu Festival. We arrive at 3 am. To save time we are met off the aeroplane and able to avoid going into the terminal building. We give in our passports as we get off the plane, lug the instruments straight onto buses and set off for the hotel with flashing lights and a police escort. Sitting in the front of the bus and driving through red traffic lights is quite exciting.
11 September 2001
After the rehearsal, we receive the devastating news about the terrorist strike in New York. We somehow get through Bruckner’s Symphony 3 that night and Dvorák’s Symphony 8 the next. Then the police turn out again to help us to the airport and we return to England at 4 am on the 13th.
13 September 2001
At 2 pm we are back at Watford and still devastated about the news. Howard lived for ten years in a neighbourhood ten blocks from the World Trade Center and sent his daughter to school nearby.
14 September 2001
We stand in silence for several minutes at 11 am and later the whole orchestra signs a card to show its solidarity. We are all rather subdued but Howard, although obviously deeply upset, manages a quiet and wry smile now and then.
17 September 2001
We are on the river Anduin, sailing along with a lovely cello phrase. A choir of about 60 joins us on several occasions. Sometimes they are booked to record in the evening from 9 pm to midnight after we have gone home.We spend a long time on each section and often re-record the same section a week later, perhaps when Howard has new inspiration about an extra percussion effect such as the sound of chains! Rachel Gledhill wears thick gardening gloves and hits the strings of the piano in a rhythmic pattern, sometimes jangling the chains on the floor at the same time. Next there is a detailed discussion about the 'bodhrans' (Irish drums) and how many players are available to play and at what pitch. Can the sound be darker? Perhaps one player should play the side drum to make the sound more forceful and military but still 'from a long time ago'? There are long discussions about which tycho drums to use. Howard has a very clear idea in his head of the sound that he wants to achieve.
20 September 2001
We have transferred to Air Studios, Hampstead. In an attempt to get the correct drum sound it is suggested that the drum could be heated with the hand drier in the 'Ladies' to tighten the skin. The violas have no metronome clicks in their headphones at one take, but they still manage to play in time. Howard asks: ‘How did you manage it?' 'We watched you', came the reply. 'Novel!' said Howard, obviously rather chuffed.
It takes a bit of time to match the Watford sound. We are working from 3 pm to 10 pm instead of from 2 pm to 9 pm and Howard finally admits to a moment of tiredness and then realises we are working an hour later.
26 September 2001
We have moved to Abbey Road Studio. Howard tells us there is music all the way through the film, except for four minutes. As we are working, the music is being sent down the internet and mixed with the film track. When we go to listen to the playback of the Prologue we joke that we would like to stay there for three hours and see all the film. The Orchestra’s enthusiasm and level of commitment to the film is evident.
30 September 2001
Howard tells us we have recorded 8-10 minutes a day. We spend the day doing 'pick-ups’, matching the sound from one recording to another. After two hours we have only recorded 31 bars. On this day there is an Irish band. Another day there were some Indian instruments (sarangi and ney flute) and a monochord, a wooden instrument with a rectangular flat top and 50 strings underneath, which took ages to tune. It is used by healers as therapy. One lies on it while it vibrates. Apparently everybody has their own particular chord which helps them to relax. Howard assures us that 'conductors live a long time because of all the vibrations they get from the orchestra'.
Howard never lost his 'cool' with us. There was a feeling of deep trust all the way through. Sometimes he would suddenly burst into smiles and share a friendly comment on the film or ask what the orchestra had been doing. When starting work again he said 'and now back to Middle Earth...'

I don't know if it was already mentioned elsewhere, but I found on YouTube this short documentary on Howard Shore during the making of the Return of the King score:
It's directed by Elizabeth Cotnoir (Shore's wife) and it's indeed a lovely portrait of a film composer at work.

Here it is:
ADMIN NOTE:
Click HERE to jump to the reveal of the track list
Click HERE to jump to the reveal of the cover art
Click HERE to jump to the reveal of the track TIMES
Click HERE to jump to the first soundclips
And click HERE to jump to when the first JWFanner received his set and actual discussion of the release begins!

I'm sure many have noticed the structural similarity between the first part of Bilbo's adventure and the first part of Frodo's. But what about the music? For each of the 15 choices, vote for your favorite piece of music from the Peter Jackson movies. Ignore OST vs SE differences for AUJ pieces and OST vs CR vs Rarities differences for LOTR stuff, just vote by whatever your favorite version of each piece of music is. Have fun!

Looking forward to hearing all of these in only two months now! New press release just posted on howardshore.com!
"THE LORD OF THE RINGS: THE RETURN OF THE KING
THE COMPLETE RECORDINGS
SET FOR RELEASE November 6, 2007 ON REPRISE/WMG SOUNDTRACKS"
5 discs - 4 CDs and one DVD
3 hours and 50 minutes of music total!
ADMIN NOTE:
Click HERE to jump to the reveal of the track list
Click HERE to jump to the reveal of the track TIMES
Click HERE to jump to the first soundclips
And click HERE to jump to when the first JWFanner received his set and actual discussion of the release begins!